first."

"But Gluck will not permit it."

"I give you my word of honor," said De Vismes, "that your opera shall be
put in rehearsal and brought out as soon as it is finished."

Before Piccini had finished his opera, he heard that his rival was
back from Germany with his "Iphigenia" completed, and that it was in
rehearsal. The director excused himself on the plea of its being a royal
command. Gluck's work was his masterpiece, and produced an unparalleled
sensation among the Parisians. Even his enemies were silenced, and La
Harpe said it was the _chef d'oeuvre_ of the world. Piccini's work,
when produced, was admired, but it stood no chance with the profound,
serious, and wonderfully dramatic composition of his rival.

On the night of the first performance Mile. Laguerre, to whom Piccini
had trusted the rôle of Iphigenia, could not stand straight from
intoxication. "This is not 'Iphigenia in Tauris,'" said the witty Sophie
Arnould, "but 'Iphigenia in champagne.'" She compensated afterward
though by singing the part with exquisite effect.

While the Gluck-Piccini battle was at its height, an amateur who was
disgusted with the contest returned to the country and sang the praises
of the birds and their gratuitous performances in the following epigram:

"La n'est point d'art, d'ennui scientifique;
Piccini, Gluck, n'ont point noté les airs.
Nature seule en dicta la musique,
Et Marmontel n'en a pas fait les vers."